Love is one of the eternal themes of literature. Women's love in Russian classical literature

The theme of love in Russian literature

Love jumped out in front of us like a killer jumps around the corner

and instantly hit us both at once ...

M. Bulgakov

Love is a high, pure, wonderful feeling that people have sung about since ancient times. Love, as they say, never gets old.

If we erect a certain literary pedestal of love, then, undoubtedly, the love of Romeo and Juliet will come first. This is perhaps the most beautiful, most romantic, most tragic story told to the reader by Shakespeare. Two lovers go against fate, despite the enmity between their families, no matter what. Romeo is ready to give up even his name for the sake of love, and Juliet agrees to die, if only to remain faithful to Romeo and their high feeling. They die in the name of love, they die together because they cannot live without each other:

There is no sadder story in the world

Than the story of Romeo and Juliet...

However, love can be different - passionate, tender, prudent, cruel, unrequited ...

Let us recall the heroes of Turgenev's novel "Fathers and Sons" - Bazarov and Odintsova. Two equally strong personalities collided. But strangely enough, Bazarov turned out to be able to truly love. Love for him was a strong shock, which he did not expect, and in general, before meeting Odintsova, love in the life of this hero did not play any role. All human suffering, emotional experiences were unacceptable for his world. It is difficult for Bazarov to confess his feelings, first of all to himself.

But what about Odintsova? .. As long as her interests were not affected, as long as there was a desire to learn something new, Bazarov was also interesting to her. But as soon as the topics for general conversation were exhausted, interest disappeared. Odintsova lives in her own world, in which everything goes according to plan, and nothing can disturb peace in this world, not even love. Bazarov for her is something like a draft that flew in through the window and immediately flew back. Such love is doomed.

Another example is the characters in Bulgakov's The Master and Margarita. Their love is just as sacrificial, it would seem, as the love of Romeo and Juliet. True, here Margarita sacrifices herself for the sake of love. The master was frightened by this strong feeling and ended up in a lunatic asylum. There he hopes that Margarita will forget him. Of course, the failure that befell his novel also affected the hero. The master flees from the world and, above all, from himself.

But Margarita saves their love, saves the Master from madness. Her feeling for the hero overcomes all obstacles that stand in the way of happiness.

Many poets have also written about love.

I really like, for example, the so-called Panaev cycle of Nekrasov's poems, which he dedicated to Avdotya Yakovlevna Panaeva, the woman he passionately loved. It is enough to recall such poems from this cycle as “She got a heavy cross ...”, “I don’t like your irony ...”, to say how strong the poet’s feeling was for this beautiful woman.

And here are the lines from a beautiful poem about love by Fyodor Ivanovich Tyutchev:

Oh, how deadly we love

As in the violent blindness of passions

We are the most likely to destroy

What is dear to our heart!

How long have you been proud of your victory?

You said she's mine...

A year has not passed - ask and tell

What is left of her?

And, of course, one cannot fail to mention Pushkin's love lyrics here.

I remember a wonderful moment:

You appeared before me

Like a fleeting vision

like a genius pure beauty.

In the languor of hopeless sadness,

In the anxieties of noisy bustle,

And dreamed of cute features ...

Pushkin handed these poems to Anna Petrovna Kern on July 19, 1825, on the day of her departure from Trigorskoye, where she was visiting her aunt P. A. Osipova and constantly met with the poet.

I want to finish my essay again with lines from another poem by the great Pushkin:

I loved you: love still, perhaps

In my soul it has not completely died out;

But don't let it bother you anymore;

I don't want to sadden you with anything.

I loved you silently, hopelessly,

Either timidity or jealousy languish;

I loved you so sincerely, so tenderly,

How God forbid you be loved to be different.

The theme of feelings is eternal in art, music, literature. In all eras and times, many different creative works have been devoted to this feeling, which have become inimitable masterpieces. This topic remains very relevant today. Particularly relevant in literary works- the theme of love. After all, love is the purest and most beautiful feeling that has been sung by writers since ancient times.

The lyrical side of the works is the first thing that attracts the attention of most readers. It is the theme of love that inspires, inspires and evokes a number of emotions, which are sometimes very contradictory. All the great poets and writers, regardless of the style of writing, themes, time of life, devoted a lot of their works to the ladies of their hearts. They invested their emotions and experiences, their observations and past experiences. Lyric works always full of tenderness and beauty, bright epithets and fantastic metaphors. The heroes of the works perform feats for the sake of their loved ones, take risks, fight, dream. And sometimes watching such characters, you are imbued with the same experiences and feelings. literary heroes.

1. The theme of love in the works of foreign writers.

In the Middle Ages, the chivalric romance was popular in foreign literature. Knightly romance as one of the main genres medieval literature, originates in a feudal environment in the era of the emergence and development of chivalry, for the first time in France in the middle of the 12th century. The works of this genre are filled with elements heroic epic, boundless courage, nobility and courage of the main characters. Often, knights went to exploits not for the sake of their kind or vassal duty, but in the name of their own glory and glorification of the lady of their heart. Fantastic adventure motifs, an abundance of exotic descriptions make the chivalric romance partly similar to a fairy tale, the literature of the East and the pre-Christian mythology of the North and Central Europe. The emergence and development of the chivalric romance was greatly influenced by the work of ancient writers, in particular Ovid, as well as the rethought legends of the ancient Celts and Germans.

Consider the features of this genre on the example of the work of the French medievalist philologist, writer Joseph Bedier "The Romance of Tristan and Isolde". Note that in this work there are many elements alien to traditional chivalric novels. For example, the mutual feelings of Tristan and Isolde are devoid of courtesy. IN chivalric romance of that era, the knight went to feats for the sake of love for beautiful lady, which for him was a living bodily embodiment of the Madonna. Therefore, the knight and the same Lady had to love each other platonically, and her husband (usually the king) is aware of this love. Tristan and Isolde, his beloved are sinners in the light of Christian morality, not only medieval. They only care about one thing to keep their relationship secret from others and to prolong their criminal passion by any means. Such is the role of Tristan's heroic leap, his constant "pretense", Isolde's ambiguous oath at the "God's court", her cruelty towards Brangien, whom Isolde wants to destroy because she knows too much, etc. Tristan and Isolde are defeated strongest desire to be together, they deny both earthly and divine laws, moreover, they doom not only their own honor, but also the honor of King Mark to desecration. But uncle Tristana is one of the noblest heroes who humanly forgives what he should punish like a king. He loves his wife and nephew, he knows about their deceit, but this does not show his weakness at all, but the greatness of his image. One of the most poetic scenes of the novel is the episode in the forest of Morois, where King Mark found Tristan and Isolde sleeping, and seeing a naked sword between them, he readily forgives them (in the Celtic sagas, a naked sword separated the bodies of the heroes before they became lovers , but in the novel it is a hoax).

To some extent, it is possible to justify the heroes, to prove that they are not at all guilty of their sudden outbreak of passion, they fell in love not at all because, say, Isolde's “blondness” attracted him, but her “valor” of Tristan, but because the heroes drank a love potion by mistake, intended for a completely different occasion. Thus, love passion is depicted in the novel as the result of action. dark force, which penetrates into the bright world of the social world order and threatens to destroy it to the ground. This clash of two irreconcilable principles already contains the possibility of a tragic conflict, which makes The Romance of Tristan and Isolde a fundamentally pre-courtly work in the sense that courtly love can be arbitrarily dramatic, but it is always joy. The love of Tristan and Isolde, on the contrary, brings them one suffering.

“They languished apart, but suffered even more” when they were together. “Isolde has become a queen and lives in grief,” writes the French scholar Bedier, who retold the novel in prose in the nineteenth century, “Isolde has a passionate, tender love and Tristan is with her, at any time, day and night.” Even while wandering in the forest of Morois, where lovers were happier than in the luxurious castle of Tintagele, their happiness was poisoned by heavy thoughts..

Many other writers have been able to capture their thoughts about love in their works. For example, William Shakespeare gave the world whole line their works that inspire feats and risk in the name of love. His "Sonnets" are filled with tenderness, luxurious epithets and metaphors. unifying feature artistic methods Shakespeare's poetry is rightly called harmony. The impression of harmony comes from all the poetic creations of Shakespeare.

Expressive means Shakespearean poetry is unusually diverse. They inherited a lot from the entire European and English poetic tradition, but a lot of absolutely new things have been introduced. Shakespeare also shows his originality in the variety of new images he introduced into poetry, and in the novelty of the interpretation of traditional plots. He used in his works the usual poetry of the Renaissance poetic symbols. Already by that time there was a significant number of familiar poetic devices. Shakespeare compares youth with spring or sunrise, beauty with the beauty of flowers, the withering of a person with autumn, old age with winter. The description of the beauty of women deserves special attention. "Marble whiteness", "lily tenderness", etc. these words contain boundless admiration female beauty they are filled with endless love and passion.

Undoubtedly best embodiment love in the work can be called the play "Romeo and Juliet". Love triumphs in the play. The meeting of Romeo and Juliet transforms them both. They live for each other: "Romeo: Heaven is mine where Juliet is." Not languid sadness, but a living passion inspires Romeo: “All day long, some kind of spirit carries me up above the earth in joyful dreams.” Love has transformed them inner world affected their relationships with people. Romeo and Juliet's feelings are severely tested. Despite the hatred between their families, they choose boundless love, merging in a single impulse, but individuality has been preserved in each of them. The tragic death only adds to the special mood of the play. This work is an example of a great feeling, despite early age main characters.

2. The theme of love in the works of Russian poets and writers.

This topic is reflected in the literature of Russian writers and poets of all times.For more than 100 years, people have been turning to the poetry of Alexander Sergeevich Pushkin, finding in it a reflection of their feelings, emotions and experiences. The name of this great poet is associated with a tirade of poems about love and friendship, with the concept of honor and Motherland, images of Onegin and Tatyana, Masha and Grinev arise. Eventhe most rigorous reader will be able to discover something close to him in his works, because they are very multifaceted. Pushkin was a man passionately responding to all living things, a great poet, creator of the Russian word, a man of high and noble qualities. In the variety of lyrical themes that permeate Pushkin's poems, the theme of love is given such a significant place that the poet could be called a singer of this great noble feeling. In all world literature you will not find more shining example special predilection for this side of human relations. Obviously, the origins of this feeling lie in the very nature of the poet, sympathetic, able to reveal in each person the best properties of his soul. In 1818at one of the parties, the poet met the 19-year-old Anna Petrovna Kern. Pushkin admired her radiant beauty and youth. Years later Pushkin met again with Kern, as charming as before. Pushkin presented her with a recently printed chapter of Eugene Onegin, and between the pages he put verses written specially for her, in honor of her beauty and youth. Poems dedicated to Anna Petrovna “I remember a wonderful moment” is a famous hymn to a high and bright feeling. This is one of the pinnacles of Pushkin's lyrics. Poems will captivate not only with the purity and passion of the feelings embodied in them, but also with harmony. Love for the poet is a source of life and joy, the poem "I loved you" is a masterpiece of Russian poetry. More than twenty romances have been written on his poems. And let time pass, the name of Pushkin will always live in our memory and awaken the best feelings in us.

With the name of Lermontov opens new era Russian literature. Lermontov's ideals are boundless; he yearns not simple improvement life, but gaining complete bliss, changing the imperfection of human nature, the absolute resolution of all the contradictions of life. Eternal life - the poet does not agree to anything less. However, love in the works of Lermontov bears a tragic imprint. This was influenced by his only, unrequited love for a friend of his youth - Varenka Lopukhina. He considers love impossible and surrounds himself with a halo of martyrdom, placing himself outside the world and life. Lermontov is sad about the lost happiness “My soul must live in earthly captivity, Not for long. Maybe I won’t see more, Your gaze, your sweet gaze, so tender for others.

Lermontov emphasizes his remoteness from everything worldly: "Whatever it is earthly, but I will not become a slave." Lermontov understands love as something eternal, the poet does not find solace in routine, fleeting passions, and if he sometimes gets carried away and steps aside, then his lines are not the fruit of a sick fantasy, but just a momentary weakness. “At the feet of others, I did not forget the gaze of your eyes. Loving others, I only suffered the Love of the old days.

human, earthly love seems to be an obstacle for the poet on his way to higher ideals. In the poem “I will not humiliate myself before you,” he writes that inspiration is dearer to him than unnecessary quick passions that can be thrown human soul into the abyss. Love in Lermontov's lyrics is fatal. He writes, “Inspiration saved me from petty fuss, but there is no salvation from my soul even in happiness itself.” In Lermontov's poems, love is a lofty, poetic, bright feeling, but always unrequited or lost. In the poem "Valerik", the love part, which later became a romance, conveys a bitter feeling of losing touch with his beloved. “Is it crazy to wait for love in absentia? In our age, all feelings are only for a period, but I remember you, ”the poet writes. The theme of betrayal of a beloved, unworthy of a great feeling or not standing the test of time, becomes traditional in Lermontov's literary creations related to his personal experience.

The discord between dream and reality permeates this wonderful feeling; love does not bring joy to Lermontov, he receives only suffering and sorrow: “I am sad because I love you.” The poet is worried about the meaning of life. He is sad about the transience of life and wants to have time to do as much as possible in the short time allotted to him on earth. In his poetic reflections, life is hateful to him, but death is terrible.

Considering the theme of love in the works of Russian writers, one cannot but appreciate Bunin's contribution to the poetry of this subject. The theme of love occupies almost the main place in Bunin's work. In this topic, the writer has the opportunity to correlate what happens in the soul of a person with the phenomena of external life, with the requirements of a society that is based on the relationship of purchase and sale and in which wild and dark instincts sometimes reign. Bunin was one of the first in Russian literature to devote his works not only to the spiritual, but also to the bodily side of love, touching with extraordinary tact the most intimate, intimate aspects of human relationships. Bunin was the first to dare to say that bodily passion does not necessarily follow a spiritual impulse, which happens in life and vice versa (as happened with the heroes of the story " Sunstroke"). And no matter what plot moves the writer chooses, love in his works is always a great joy and a great disappointment, a deep and insoluble mystery, it is both spring and autumn in a person's life.

IN different periods Of his work, Bunin speaks of love with varying degrees of frankness. In his early works the characters are open, young and natural. In such works as "In August", "In Autumn", "Dawn All Night", all events are extremely simple, brief and significant. The feelings of the characters are ambivalent, colored with halftones. And although Bunin talks about people who are alien to us in appearance, life, relationships, we immediately recognize and realize in a new way our own premonitions of happiness, expectations of deep spiritual changes. The rapprochement of Bunin's heroes rarely achieves harmony; as soon as it appears, it most often disappears. But the thirst for love burns in their souls. The sad parting with his beloved is completed by dreamy dreams ("In August"): "Through my tears I looked into the distance, and somewhere I dreamed of the southern sultry cities, a blue steppe evening and the image of some woman who merged with the girl I loved ... ". A date is remembered because it testifies to a touch on genuine feeling: "Whether she was better than others whom I loved, I do not know, but that night she was incomparable" ("Autumn"). And in the story "Dawn all night" Bunin tells about the premonition of love, about the tenderness that young girl Ready to give to your future lover. At the same time, youth tends not only to get carried away, but also quickly disappointed. Bunin's works show us this painful gap between dreams and reality for many. “After a night in the garden, full of nightingale whistling and spring trembling, young Tata suddenly hears in her sleep how her fiancé shoots jackdaws, and understands that she does not love this rude and mundane man at all.”

Majority early stories Bunin tells about the desire for beauty and purity - this remains the main spiritual impulse of his characters. In the 1920s, Bunin wrote about love, as if through the prism of past memories, peering into the departed Russia and those people who are no longer there. This is how we perceive the story "Mitina's Love" (1924). In this story, the writer consistently shows the spiritual development of the hero, leading him from love to collapse. In the story, feelings and life are closely intertwined. Mitya's love for Katya, his hopes, jealousy, vague forebodings seem to be covered with a special sadness. Katya, dreaming of an artistic career, spun in the fake life of the capital and cheated on Mitya. His torment, from which the relationship with another woman, the beautiful but down-to-earth Alenka, could not save, led Mitya to commit suicide. Mitin's insecurity, openness, unpreparedness to face harsh reality, inability to suffer make us feel more acutely the inevitability and inadmissibility of what happened.

In a number Bunin's stories about love is described love triangle: husband wife lover ("Ida", "Caucasus", "The most beautiful sun"). In these stories, an atmosphere of inviolability of the established order reigns. Marriage is an insurmountable barrier to achieving happiness. And often what is given to one is ruthlessly taken away from another. In the story "Caucasus", a woman leaves with her lover, knowing for sure that from the moment the train leaves, hours of despair begin for her husband, that he will not stand it and rush after her. He is really looking for her, and not having found her, he guesses about the betrayal and shoots himself. Already here the motif of love as a "sunstroke" appears, which has become a special, ringing note of the "Dark Alleys" cycle.

Memories of youth and the Motherland bring together the cycle of stories "Dark Alleys" with the prose of the 20-30s. These stories are told in the past tense. The author seems to be trying to penetrate into the depths of the subconscious world of his characters. In most stories, the author describes bodily pleasures, beautiful and poetic, born in genuine passion. Even if the first sensual impulse seems frivolous, as in the story "Sunstroke", it still leads to tenderness and self-forgetfulness, and then to true love. That's what happens to the characters in the stories." Business Cards", "Dark alleys", "Late hour", "Tanya", "Rus", "In one familiar street". The writer writes about ordinary lonely people and their lives. That is why the past, filled with early, strong feelings, seems to be truly golden times, merges with the sounds, smells, colors of nature. As if nature itself leads to spiritual and physical rapprochement loving friend friend of people. And nature itself leads them to inevitable separation, and sometimes to death.

The skill of describing everyday details, as well as the sensual description of love, is inherent in all the stories of the cycle, but the story "Clean Monday" written in 1944 appears not just as a story about the great secret of love and the mysterious female soul, but some cryptogram. Too much in the psychological line of the story and in its landscape and everyday details seems like a ciphered revelation. Accuracy and abundance of details are not just signs of the times, not just nostalgia for forever lost Moscow, but the opposition of East and West in the soul and appearance of the heroine, leaving love and life for a monastery.

3. The theme of love in the literary works of the XX century.

The theme of love continues to be relevant in the 20th century, in the era global catastrophes, a political crisis, when humanity makes attempts to re-form its attitude towards universal values. Writers of the 20th century often depict love as the last remaining moral category of the then destroyed world. In the novels of the writers of the “lost generation” (Remarque and Hemingway belong to them), these feelings are the necessary stimulus for which the hero tries to survive and live on. " Lost generation» - the generation of people who survived the first world war and left spiritually devastated.

These people renounce any ideological dogmas, search for the meaning of life in simple human relationships. The feeling of a comrade’s shoulder, which almost merged with the instinct of self-preservation, guides the mentally lonely heroes of Remarque’s novel “On western front no change." It also determines the relationship that arises between the characters of the novel "Three Comrades".

Hemingway's character in A Farewell to Arms renounced military service, from what is usually called the moral obligation of a person, renounced for the sake of a relationship with his beloved, and his position seems very convincing to the reader. A man of the 20th century is constantly faced with the possibility of the end of the world, with the expectation of his own death or the death of a loved one. Katherine, the heroine of A Farewell to Arms, dies, as does Pat in Remarque's Three Comrades. The hero loses a sense of being needed, a sense of the meaning of life. At the end of both works, the hero looks at the dead body, which has already ceased to be the body of the beloved woman. The novel is filled with the author's subconscious thoughts about the mystery of the origin of love, about its spiritual basis. One of the main features of the literature of the 20th century is its inextricable connection with the phenomena public life. The author's reflections on the existence of such concepts as love and friendship appear against the backdrop of the socio-political problems of that time and, in essence, are inseparable from reflections on the fate of mankind in the 20th century.

In the work of Francoise Sagan, the theme of friendship and love usually remains within the framework of a person's private life. The writer often depicts the life of the Parisian bohemia; most of her characters belong to her. F. Sagan wrote her first novel in 1953, and it was then perceived as a complete moral fall. IN the art world Sagan has no place for a strong and truly strong human attraction: this feeling must die as soon as it is born. It is replaced by another - a feeling of disappointment and sadness.

Conclusion

Love is a high, pure, wonderful feeling that people have sung since ancient times, in all languages of the world. Love has been written about before, is being written about now, and will be written about in the future.No matter how different love is this feeling is still beautiful. Therefore, they write so much about love, compose poems, love is sung in songs. The creators of beautiful works can be listed indefinitely, since each of us, whether he is a writer or a simple person, has experienced this feeling at least once in his life. Without love there will be no life on earth. And when reading works, we come across something sublime, which helps us to consider the world from the spiritual side. After all, with each hero we experience his love together.

Sometimes it seems that everything has been said about love in world literature. But love has a thousand shades, and each of its manifestations has its own holiness, its own sadness, its own break and its own fragrance.

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Grazhdanskaya Z. T. "From Shakespeare to Shaw"; English writers of the XVI-XX centuries. Moscow, Prosveshchenie, 2011
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Love in its various manifestations throughout the history of mankind has been the most common theme of works of art. Let's try to illustrate the types of love on the example of well-known personalities and literary heroes.

1. LOVE-FILIA. This is a deep spiritual closeness, which is built on a common interest or serving a common goal. Experiencing such love, people feel so happy that they do not need anyone but each other and a common cause that provides a constant influx of new experiences against the backdrop of deep mutual understanding. Filia is most pronounced if it is expressed in both partners.

For example, the spouses Marie and Pierre Curie, physicists. It can be assumed that they belonged, conditionally, as in other examples), to the types: Analyst and Innovator. The Curies devoted themselves entirely to a common goal - serving science and found in each other everything necessary for happiness. Their relationship was full of respect and constant interest in each other, as they were built on intellectual intimacy. It can be assumed that they lacked an emotional and sensual complement. But Filia can deal with it. For her, the main thing is mutual understanding and common interests.

2. LOVE-AGAP. The most sublime, beautiful, spiritual, idealistic feeling, for which time and distance are not afraid. The sensuous side of life can be sacrificed to a distant ideal. Even when people are together, the most important thing for them is spiritual closeness, poetic consonance of thoughts and feelings. At the same time, the commonality of occupations and hobbies is not as important as the similarity in outlook on life. This love is patient; she is able to wait for reciprocity for a long time and believe in it even with minimal chances.

Such is the love of Honore de Balzac and Evelina Ganskaya, types - Mentor. Despite the fact that they, like the Curies, also have the same form of love. Their long, sublime love, which withstood long separations, was not easy, with spiritual crises and upheavals. This feeling lasted so long because of its steady form and the distance so beneficial to this kind of love. For the same reason, after rapprochement, they were disappointed in each other.

The grotesque image of this love was created by N. Gogol in the novel " Dead Souls"- these are the Manilovs, identical in type. Their types are the idealists of Lyrica, who have an extraordinary talent for harmonizing. They focused all their diplomatic skill and sacrifice of Agape's love on each other. Their mutual idealism and ability to build castles in the air did not change them even in old age.

3. LOVE-MANIA. Feeling - blind, romantic, very emotional, enslaving and loving, and the one to whom it is directed. This, like Victoria, is a powerful feeling, but power is manifested not so much in the physical possession of a partner as trying to subdue his emotions. physical betrayal here it is not so terrible as betrayal of feelings, emotional preference for another partner. Jealousy in this kind of love is the most dramatic, cooling in the feelings of a loved one is hard to endure, can lead to murder or suicide, since this love becomes an overvalued value, completely subjugating a person. It generates most of the tragedies.

Such is the love of Anna Karenina and Vronsky, who have sociotypes - Mentor. Their stormy, all-consuming and dramatic feelings, which they showed to each other and for the sake of which they made any sacrifices, did not stand the test of time. Their situation was aggravated by the fact that identical relationships are good only as long as people carry new information to each other.

Vronsky and Anna eventually accumulated fatigue from the stormy emotions that at first attracted both of them by their high intensity. After a while, famine set in. new information which they could no longer give to each other. At the break, Anna lost much more than Vronsky, since she put everything at stake: family, child, position in society. Having lost everything and having received nothing in return, except for the collapse of illusions, Anna Karenina committed suicide. Love subjugated her and destroyed her.

Exactly the same outcome befell the hero famous story Kuprin "Garnet Bracelet", belonging to the same personality type, who, for the sake of his love, also put everything at stake, even committed a crime - embezzlement of public money to make a gift to his beloved woman. Without reciprocity on her part, life lost its meaning for him, and he decided to commit suicide.

As a result of such love-supervalue, Shakespeare's heroes Romeo and Juliet died (types - Mentor). More often such an outcome takes love-Mania in combination with idealistic Agape. But there are less dramatic outcomes in such love.

For example, another well-known case is the love of George Sand and Musset (both Mentors). They tormented each other with their passionate and contradictory love, which was difficult for them to stop, her power over them was so great, but in the end they nevertheless parted.

4. LOVE-STORGE. This is love, full of delicacy and tact, prone to constancy and compromise in order to maintain harmony in relationships. An ideal form of family love, based on the ability to maintain calm friendships for a long time, full of tenderness and simple, deeply human love for a partner, full of sympathy and indulgence for shortcomings. This love is liberating, when everyone can be himself and soul and body; when they love a person simply for what he is. The only thing she does not forgive is rudeness, selfishness, pretense and insincerity, which are contrary to her very essence. The most valuable thing in it is attention to each other, even in small things.

Natasha Rostova's love-Storge is vividly depicted in L. Tolstoy's novel War and Peace. In this example we are talking about dual love. Her husband, Pierre Bezukhov (Critic type), is characterized by Pragma love. Complementary types of love - Victoria with Natasha and Agape with Pierre give their feelings peculiar shades that are in harmonious combination. The imperiousness of Natasha (presumably, the type of Politician) and the possessive side of her love, manifested themselves in selfless love for her husband, who completely submitted to her soft power. Pierre's love is complemented by his sublime sacrifice and gratitude for the stability of family happiness.

This is necessary for his love-Pragma, which partly loses its rationality due to the admixture of feeling like Agape. It is difficult for Pierre to sort out his feelings, but having fallen in love, he tends to idealize the object of his feelings. He loves Natasha the more, the more she cares about a strong family without unnecessary sophistication and spiritual quest, leaving all this to her husband. There is no emotional intensity in their relationship: they are natural, reliable and constant, which is typical for the "Storge-Pragma" combination.

Tolstoy depicted a similar combination of this type of dual love in another happy couple: Nikolai Rostov (Manager) and Marya Bolkonskaya (Humanist). Love-Pragma in Nikolai is expressed in a harsher form than in Pierre Bezukhov - it is imprinted by the harsh nature of the Manager personality type. In turn, Marya Bolkonskaya has a more pronounced spiritual component of relations than Natasha Rostova, since her love-Storge is complemented by the type of love-friendship Filia. Therefore, Marya does not strive, like Natasha, to own her husband as property, but leads a constant educational work softening his severity.

Thus, the same forms of love appear in different types personalities in different ways. They are affected by both typical features and the combination of the predominant form of emotional attitude with an additional one.

Old-world landowners - Pulcheria Ivanovna and Afanasy Ivanovich (both, presumably, Humanists, type of relationship - Storge), are also very attentive to each other, like the Manilov couple, but in their feelings there is less idealism, but more genuine sincerity. They found their happiness, since both met the high moral requirements of love - Storge: fidelity, tact, mutual care, courtesy. Their relationship is simple and natural, without the elements of play and pathos inherent in the Manilov couple.

5. LOVE-PRAGMA. It is called rational love. This logical form love that cannot arise spontaneously, be too sensual or spiritual. Moreover, if it is contrary to common sense and carries destructive tendencies, a person quickly recovers from it. As a rule, the one who expresses love-Pragma is not inclined to remember, experience and analyze his failure for a long time. What is not rational is discarded.

So, Pierre Bezukhov, in his first marriage to the beautiful Helen Kuragina, without meeting reciprocity on her part, quickly lost interest and easily crossed her out of his heart. Avoiding gossip in society, he maintained the appearance of this marriage for a long time, without trying to terminate it. At the same time, he gave his wife freedom in the choice of activities and entertainment. At the same time, Pierre did not worry about her betrayals. It was as if she didn't exist for him.

Love-Pragma is not necessarily a marriage of convenience, especially material. This is just a choice, or more precisely, the ability to get along with a partner who meets not abstract, but quite worldly requirements of a normal life. family life- Calm and well-established in everyday life. IN otherwise disillusionment and chilling sets in. A person with this form of love needs constancy in relationships and stability. Suitable partner becomes his favorite acquisition, which he takes care of like a good owner.

Such is the love of Nikolai Rostov with L.N. Tolstoy. Well portrayed and Somerset Maugham in the novel "Theater" on the example of a dual couple - actress Julia and her husband and director - Michael. Julia (Politician) loved Michael with calm family love-Storge, and Michael - Critic, answered her with sober, rational love-Pragma. They saw each other's shortcomings and treated them condescendingly. Even minor hobbies on the side did not affect the strength of their union. When Julia became very infatuated with Tom, she had the tact to hide it from her husband and not injure him. The storm swept past without affecting their family well-being.

6. LOVE-ANALYTA. The coldest and most demanding kind of love. After the beginning, which is accompanied by emotions, like any passion or love, there comes a period of cold analysis, as a result of which many of the partner's virtues that nourished feelings at the beginning of love can fade. Those with the Analita love form tend to endow the partner with desirable but often illusory virtues during the first period of falling in love, the absence of which, on closer examination, can cool this feeling.

This form of love can sometimes make very peculiar requirements for a partner. A loved one "should" so much, and "shouldn't" even more, that it can be very difficult not to be disappointed in him over time. A marriage can be saved if it is based on a sense of duty, but the relationship can be very cool.

This is the most emotionally independent form of love that does not tolerate compromise in a relationship. It is difficult for her to impose something or limit her in some way. A person with this form of relationship insists that his requirements be respected, but he himself is not always able to reckon with the requirements of a partner. This is a feeling from the mind, not from the heart, so he often lacks compassion, unless it is softened by an additional form of love that makes its own adjustments.

So loved his daughter Marya Prince Bolkonsky (type Analyst). He devoted a lot of time to daily studies with her, trying to develop her abilities and intelligence, but did not care at all about arranging his daughter's personal life. The purpose of her life was to be constant self-education, the fulfillment of the requirements of her father and boundless love in response to his coldness. He did not understand that she could suffer because of this. Prince Bolkonsky was set up for a less vulnerable, more optimistic and self-confident partner. Such a person was for him the French governess Amelia. Her constant gaiety and talkativeness softened his stern disposition. He was especially impressed with the fact that she was not touchy. The daughter (type Humanist), on the contrary, has a form of love-Storge, absolutely opposite to love - Analita; she needed a more caring partner. That is why the relationship between father and daughter was so dramatic.

What happens if two people with the Analita relationship form fall in love? This was well shown by I. Turgenev in the novel "Fathers and Sons" on the example of the relationship between Evgeny Bazarov and Olga Odintsova. These relationships are reminiscent famous fairy tale about the crane and the heron. Mutual respect and admiration continually gave way to bewilderment, since the partner did not support the initiative in expressing feelings. Their relationship lacked warmth, simplicity, and the ability to compromise.

Each saw in the other an attractive image of an equal partner in mind, but they were repelled by mutual independence. Both needed a partner capable of melting the ice of their rational feelings with his strong emotional expansion and at the same time capable of many concessions in order to preserve the relationship. A person with a form of love-Mania is capable of this.

Their intellectual duel showed that the requirements for each other will not be met, so it's better not to take risks, going for rapprochement. The readiness for compromise was first shown by Bazarov (presumably the Analyst or Mentor type with an emphasis on structural logic, who is often mistaken for the Analyst), who believed that a woman is a weaker being and therefore will sooner or later give in to him, but Odintsova (perhaps the Leader type), rejected his offer in order to preserve her freedom. She understood that there would be a long struggle between them, which would not end in anything, since she was not the kind of woman who could obey. They broke up and it was the best thing they could do.

Another thing is if partners with the type of love - Analita and Filia, which complements it, have a common cause (as was the case with the Curie spouses). In this case, mutual respect and common interests can save this emotionally problematic union.

7. LOVE-VICTORIA. It is predominantly physical love - victory over many or over one person. Ownership, regardless of whether this property is carefully stored or treated as they please, with the full right of the owner. Much depends on the complementary form of love.

If it is complemented by the type of love - Storge, then imperious love - Victoria manifests itself more in the form of guardianship. Ethics - Politics, and especially the Guardian, Victoria's love is significantly softened and full of not only patronage, but also tender care. She does not forgive only one thing - infidelity. She is characterized by unbending adherence to principles and stubbornness, which gives rise to many family problems. Therefore, you need a partner who is compliant and flexible in relationships.

If the type of love Victoria is combined with love-Analita, at the level of type or in combination of type and type accent, such a feeling becomes very demanding, oppressive. There is little spirituality and warmth in this love, few romantic feelings and a desire for a common interest. The main thing here is submission to the requirements and will of the powerful partner. Revives and aggravates this kind of sexual behavior by the resistance of the subordinate, if only it is not too long. Otherwise, the latter runs the risk of getting bored, and then a break in relations or a rude attitude on the part of the representative of love, Victoria, is possible.

For extroverts, love-Victoria manifests itself in the form of a tendency to new and new victories. Such is Casanova (Mentor with an overdeveloped type emphasis on volitional sensory), a passionate hunter and winner of women. True, he was a gentle and delicate lover who did not promise women fidelity and therefore did not deceive them, unlike another of the same type with two strongly developed accents inadequate to this type - on volitional sensory and the logic of relationships - Don Juan.

Casanova was usually not angry. He was little interested in the spiritual side of the relationship, each time he experienced the glorious emotions of satisfied vanity. Don Juan is another matter. His inherent form of love - Victoria in alliance with Analita - made him a particularly ruthless victor, causing women suffering. Often he tried to humiliate a woman, to laugh at her. All means were good: vows of love, promises to love forever, etc. He invariably demonstrated his superiority over those he conquered.

In his heart, he despised and hated women because he could not meet the real ideal, to which his subtype love Agape and the other side of his love, picky Analita, aspired. His requirements were unique, he wanted a woman to combine even opposite qualities. Carried away and disappointed, all his life he was looking for an unreal woman, without thinking whether he himself was worthy of the expected ideal. He was never able to love a woman with all her shortcomings, but without them he never found.

Love-Victoria in introverts is expressed somewhat differently. They are more interested in constantly fighting and defeating one partner, and not many. Such love is described by L. Tolstoy in the novel "Anna Karenina". Her representative is Karenin, Anna's husband.

At first, Anna (her type is Mentor) had a good, dual alliance. They lived calmly and measuredly. But Anna's romantic nature did not get the opportunity for its realization in the field of feelings. She was bored. For a person of the Mentor type, love is main value in life. Such a person needs not so much the distracting and balancing influence of the love of his dual, but a strong reciprocal feeling.

The type of Anna's husband is the Inspector, he has a combination of Victoria's imperious love and Analit's uncompromising love. Despite the duality of relations with his wife, he caused her a lot of suffering when she destroyed their marriage, which seemed so strong and successful. His domineering, jealously possessive feeling of the Victoria type did not allow him to let his wife go to another, to give her freedom. In alliance with the type of love - Analita, it was alien to compassion and therefore Karenin created a hopeless situation for his wife, which led her to suicide.

Apparently, dualization is not a panacea for all ills, especially in this pair. In another pair, one of the partners has a combination of Victoria and Analita forms of love, which sometimes creates hopeless situations. This type of love is inherent in the Leader. If he is loved, then he considers the object of feelings his property and is ready to kill him rather than give him to another.

So did Prokhor Gromov (presumably, the type is Leader) in V. Shishkov's novel "Gloom River", shooting Anfisa (her type is Mentor with an emphasis on volitional sensory). The physical passion of this couple was very strong, but Anfisa's rebelliousness (associated with the predominance of the same form of love in her as that of Prokhor - Victoria), finally pissed him off. In the struggle between two representatives of love, Victoria won the strongest.

8. LOVE-EROS. Includes erotic attraction and the desire for harmony of sensations. It blinds a person, makes him idealize a partner. She has a lot of physical sensuality, but she does not seek to dominate or suppress. On the other hand, her spirituality is rather superficial and illusory.

This is a romantic feeling that can burn for a long time and brightly, but can go out without a trace from one harsh word or shocking act. Some are able to experience this feeling once in a lifetime, some - several times. But it always happens spontaneously, swoops like a hurricane and intoxicates a person. There is no drama in this love, it is like a holiday that is awaited with joy and parted with without regrets. This love cannot long exist without reciprocity; it gives as much as it takes. She longs for the fullness of feelings and the combination of the inclinations of the mind, soul and body, but without erotic harmony for her, everything else can lose its meaning.

Passionate and sensual was the love of Aksinya and Grigory Melekhov in Sholokhov's novel " Quiet Don"Most likely, Aksinya has the Mentor type with an emphasis on sensory sensations (this variant of this type is often mistaken for the Communicator), and Melekhov is closer in character to the Manager type. Both expressed the Eros type of love. She burned violently, softening Grigory's stern nature and releasing the restrained passion of his nature.But, if not for the accident that cut off their love, this romantic feeling would hardly have been durable.

Knowing the type of relationship of this pair, and this is the "Superego" relationship, we can try to model their further development. The second component of Aksinya's love - Mania (incompatible with the second type of love of Gregory - Pragma) could eventually begin to embarrass and tire him. He would try to create a strong family with his beloved wife, but her uneven temper and emotional outbursts could occasionally aggravate relations. On the one hand, erotic satiety could come, on the other hand, emotional overstrain, and as a result, mutual cooling, which is very destructive for this love.

The main thing in the love of Eros is to keep romance in feelings for as long as possible. Mutual psychoanalysis is not the most The best way strengthen such relationships. Of great importance is the preservation of external attractiveness, outfits, decorations, surprises, entertainment - everything that can support a festive mood. In any case, no matter how difficult everyday life is, you need to arrange holidays more often, which are so necessary for this feeling.

Note: It is possible that some inaccuracies were made in the interpretation of the personality types of literary heroes and their inherent forms of love. Dealing with fictional characters and relying only on the talent of the writers who portrayed them, it is difficult to imagine that they all have exact prototypes in life. Therefore, I do not insist on the correctness of my conclusions in relation to all the examples given here. My goal in this case is an analysis of the types of love, and not a scientifically based determination of the personality types of fictional characters.

Literature:

1. Augustinavichute A. Model of informational metabolism. Lithuania, 1980

2. Augustinavichute A. "Socion"; "Theory of intertype relations". - Department of Manuscripts of the Library of the Lithuanian Academy of Sciences, 1982

3. Augustinavichyute A. On the dual nature of man, Kyiv, ed. MIS, 1997

4. Dodonov B.I. In the world of emotions. - K., Political Publishing House. Literature of Ukraine, 1987

5. Meged V.V., Ovcharov A.A. Applied Socionics, SPIMO, May-June, 1999

6. Meged V.V., Ovcharov A.A. Brief characteristics personality types, SPIMO, May-June, 1999

7. Meged V.V. Compatibility of representatives of type accents, PIS, N6 (18), 2004

8. Meged V.V., Ovcharov A.A., Theory of Applied Socionics. - "Socionics, mentology and personality psychology" N 2, 1996

9. Jung K.G. Consciousness and the unconscious: Collection / Per. from English. - St. Petersburg: University book. – 1997.

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Love is one of the eternal themes of literature. Women's love in Russian classical literature

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